Discover the most popular and inspiring quotes and sayings on the topic of Landscapes. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Landscapes Quotes And Sayings by 86 Authors including Claude Monet,Norman Maccaig,Diane Von Furstenberg,Melissa Brown,Ann Zwinger for you to enjoy and share.
For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the light and the air which vary continually. For me, it is only the surrounding atmosphere which gives subjects their true value.
Landscape is my religion.
... God in a green legend, I lean over the pool
In a testament of leaves. I dangle my twinkling mood
Before me in a cool cave roofed with branches
And floored with a skin of water.
Landscapes change, people come and go, but all the landscapes, all the experiences, all the people weave into your life's fabric.
In every landscape should reside jewels of abstract art waiting to be discovered.
This landscape is animate: it moves, transposes, builds, proceeds, shifts, always going on, never coming back, and one can only retain it in vignettes, impressions caught in a flash, flipped through in succession, leaving a richness of images imprinted on a sunburned retina.
I often wondered why I was attracted to certain landscapes and not others and why my photographs (and depictions by other artists) looked the way they did, Archetypes imprinted on my mind started me on a search ...
The most stupendous scenery ceases to be sublime when it becomes distinct, or in other words limited, and the imagination is no longer encouraged to exaggerate it. The actual height and breadth of a mountain or a waterfall are always ridiculously small; they are the imagined only that content us.
Through the power of art imaginary landscapes turn into real ones.
Landscape consists in the multiple, overlapping intricacies and forms that exist in a given space at a moment in time.
The soul of a landscape, the spirits of the elements, the genius of every place will be revealed to a loving view of nature.
All forms of landscape are autobiographical,
Landscape photography is the supreme test of the photographer - and often the supreme disappointment.
Nature - the sublime, the harsh, and the beautiful - offers something that the street or gated community or computer game cannot.
The charming grass, elegant water, fascinating winds, admirable rocks and delicate sands are never alone.
More varied than any landscape was the landscape in the sky, with islands of gold and silver, peninsulas of apricot and rose against a background of many shades of turquoise and azure.
The landscape affects the human psyche - the soul, the body and the innermost contemplations - like music. Every time you feel nature deeper you resonate better with her, finding new elements of balance and freedom ...
Sky and clouds and trees and little figures relaxing in the perfect rural rhythm of their surroundings: these are the staples of a Gainsborough landscape.
Terrestrial scenery is much, but it is not all. Men go in search of it; but the celestial scenery journeys to them; it goes its way round the world. It has no nation, it costs no wearinesss, it knows no bonds.
Here hills and vales, the woodland and the plain Here earth and water seem to strive again, Not chaos-like together crushed and bruised, But, as the world, harmoniously confused: Where order in variety we see, And where, though all things differ, all agree.
From the landscape: a sense of scale. From the dead: a sense of scale.
The beauty of the landscape - where sand, water, reeds, birds, buildings, and people all somehow flowed together - has never left me.
On every travel, we saw beautiful landscapes.
If you look at landscape in historical terms, you realize that most of the time we have been on Earth as a species, what has fallen on our retina is landscape, not images of buildings and cars and street lights.
I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a 'record shot'. My first thought is always of light.
All mountain landscapes hold stories: the ones we read, the ones we dream, and the ones we create.
-from the Editor's Note, The Alpinist (April 1, 2010)
At present, [in the desert] an exasperating clarity reigns. The sky has become less visible than water in a jar. Black peaks, spines of granite, a twisted tree are sculpted in this atmosphere basted with reflections. All that remains: a countryside of imperishable contours.
To inquire into the intricacies of a distant landscape, then, is to provoke thoughts about one's own interior landscape, and the familiar landscapes of memory. The land urges us to come around to an understanding of ourselves.
The inspiration for my work comes from areas spanning the stark regions of Newfoundland to the lush and fertile valleys of the South. The landscapes offer me form; the people I've met in these places give them color.
I'm attempting to broaden my novels' scope through landscape and weather, leaves falling off trees, overnight storms, timeless elements which, irrespective of human endeavour, have always been there and, as long as there is life and snow, will always be there.
Landscape, which looks so constant, is on the move. The mountains dream on the horizon, but mountains are just passing through. I watch them, wearing, grinding, rising up out there, their motion still the main beat.
Within two hours of where I live, you have mountains and desert as location. I like the natural elements that abstract into light, texture, shape and shadow.
A collection of plants is not a landscape, any more than a list of choice words is a poem. The merit is in the design, not the material it is expressed in, and the best designs, like the best poems, make ordinary material significant by its arrangement.
If you drive to, say, Shenandoah National Park, or the Great Smoky Mountains, you'll get some appreciation for the scale and beauty of the outdoors. When you walk into it, then you see it in a completely different way. You discover it in a much slower, more majestic sort of way.
A landscape painting is essentially emotional in origin. It exists as a record of an effect in nature whose splendour has moved a human heart, and according as it is well or ill done it moves the hearts of others.
The beauty of a landscape resides in its melancholy.
There isn't a landscape in the world that is more artfully worked, more lovely to behold, more comfortable to be in, than the countryside of Great Britain. It is the world's largest park, its most perfect accidental garden.
for pleasing to me are meadows and a far view
When a figure painter executes a landscape he treats it as if it were a face; Degas' landscapes are unparalleled because they are visionary landscapes.
THE BEAUTY OF THE EARTH IS THE FIRST BEAUTY. MILLIONS OF years before us the earth lived in wild elegance. Landscape is the first-born of creation. Sculpted with huge patience over millennia, landscape has enormous diversity of shape, presence and memory.
Mountains are the beginning and the end of all natural scenery.
My current works are abstracts cunningly disguised as landscapes. It is the Canadian way.
Horses make a landscape look beautiful.
Ever since the 1860s when photographers travelled the American West and brought photographs of scenic wonders back to the people on the East Coast of America we have had a North American tradition of landscape photography used for the environment.
The silken rush of woodland waters and the scoured shapes of the desert - these and countless other treasures we owe to those farsighted enough to have preserved the public lands that make up our inheritance.
Landscape ... can 'enlarge the imagined range for self to move in.
I wish that we would not fight for landscapes that remind us of who we think we are. I wish we would fight, instead, for landscapes buzzing and glowing with life in all its variousness.
The landscape of the mind, against which our thoughts and expectations move, when the wind of the imagination is active, changes as quickly as the clouds; and indeed it consists often of several landscapes, semi-transparent and showing through one another.
I love nature, I love the landscape, because it is so sincere. It never cheats me. It never jests. It is cheerfully, musically earnest. I lie and relie on the earth.
The secret of landscapes isn't creation ... It's maintenance.
Compelling outdoor imagery always combines some kind of personal connection to nature and skillful technique. The former seems to be a form of grace, and the latter an act of the will.
Reveal the timeless beauty of Nature's special places.
I know that the only reason American landscapes sometimes disappoint me is that, just a century before I was born, the great rivers and prairies and wild forests still existed. And they were sublime.
The landscape thinks itself in me and I am its consciousness.
To myself, mountains are the beginning and the end of all natural scenery; in them, and in the forms of inferior landscape that lead to them, my affections are wholly bound up.
I abstract it in my photographs: I like large planes and spaces, areas of texture and light, like deserts or oceans or monumental places.
I love to write about the outdoors, no matter where it's located: about a place that's captured my imagination and that I wish to re-create for the reader's pleasure.
A lot of people find rural landscapes relaxing." "Sure, until you start wondering what's creeping behind those trees, or slithering along in the grass.
I get excited by landscape.
The landscape here was strange. It was some type of forest, with giant vines that grew into spirals, round and round, growing up fifty metres toward the sky. They were massive. Some were fifteen metres across, narrowing as they rose.
A town, a landscape are when seen from afar a town and a landscape; but as one gets nearer, there are houses, trees, tiles leaves, grasses, ants, legs of ants and so on to infinity. All this is subsumed under the name of landscape.
Some look at the hills from far away and see only the barren lands; some travel amongst the hills and find the most beautiful valleys!
The landscape everywhere, away from the river, is of rock - cliffs of rock; plateaus of rock; terraces of rock; crags of rock - ten thousand strangely carved forms.
One ends up with a landscape one has never seen before but it is presumably the landscape you were feeling as you started the painting.
How do people imagine the landscapes they find themselves in? How does the land shape the imaginations of the people who dwell in it? How does desire itself, the desire to comprehend, shape knowledge?
The peculiar value of geography lies in its fitness to nourish the mind with ideas and furnish the imagination with pictures.
The body is an organ of memory, holding traces of all our experiences. The land, too, carries the burden of all its changes. To truly see and understand a landscape is to see its depth as well as its smooth surfaces, its beauty and its scars.
[New Mexico is] the only landscape . . . where Nature is as aesthetic as Art; the only landscape that can compete with the great painters.
Mountains and deserts, with their sparse life at the limit of existence, make one restless and disconsolate; one becomes an explorer in an intellectual realm as well as in a physical one.
The most interesting parts of the natural world are the edges, places where ocean meets land, meadow meets forest, timberline touches the heights.
The trees and shrubs rear white arms to the sky on every side; and where were walls and fences, we see forms stretching in frolic gambols across the dusky landscape, as if Nature had strewn her fresh designs over the fields by night as models for man's art.
It is not enough for a landscape to be interesting in itself. Eventually there must be a moral and historic interest.
Eight years ago, I wouldn't have painted this subject I'm starting now: a clearing filled with grasses. It would have seemed too much of a jumble. I had to keep looking and drawing, and looking. Now, because of all that time I spent drawing these grasses, I know what I'm looking for.
It seems so utterly naive that landscape - not that of the pictorial school - is not considered of "social significance" when it has a far more important bearing on the human race of a given locale than excrescences called cities.
The greater number of landscapes I explored, the more it seemed that they had traits in common and that the essence of each was not its uniqueness but its similarity to others.
Only the human figure exists; landscape is, and should be, no more than an accessory; the painter exclusively of landscape is nothing but a bore.
The beauty and wonders of nature are as alluring as the pursuit of Art, and made of me a landscape painter.
The painter who is so enamoured by the beauties of the parts of a landscape, that he strives to represent all, cannot succeed. His picture will be an arrangement of a series of portraits of things without unity ... There must be variety and contrast, but in measured doses.
Though American scenery is destitute of many of those circumstances that give value to the European, still it has features, and glorious ones, unknown to Europe...the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wildness
A lake is the landscape's most beautiful and expressive feature. It is earth's eye; looking into which the beholder measures the depth of his own nature. The fluviatile trees next the shore are the slender eyelashes which fringe it, and the wooded hills and cliffs around are its overhanging brows.
The landscape around us is but a shadow of the landscape within us.
Men have dominated the field of landscape photography just as they have dominated the land itself. Thus shooting a virgin landscape has been man's work - hunting, not gardening.
This is one of the blessings of the urban nature project: without the overtly magnificent to stop us in our tracks, we must seek out the more subversively magnificent. Our sense of what constitutes wildness is expanded, and our sense of wonder along with it.
Longing for the mountains
Our ability to perceive quality in nature begins, as in art, with the pretty. It expands through successive stages of the beautiful to values as yet uncaptured by language.
A good landscape painting is not just a demonstration of competent application of paint. It must offer a feeling of homage to the subject.
The most beautiful landscape cannot hold my fascinated attention as much as nature by the seaside and all that is connected with water.
As children we have no appreciation of scenery because, having not yet stored similar scenes in our imagination, with their attendant emotions and circumstances, we perceive it without psychic depth. I now looked at the cloudcrowned summits with my
What concerns me when I work, is not whether the picture is a landscape, or whether it's pastoral, or whether somebody will see a sunset in it. What concerns me is - did I make a beautiful picture?
I love all of the ecosystems - mountains, deserts, rainforests. They're beautiful, and nature has so many different flavors to it.
There is a serene and settled majesty to woodland scenery that enters into the soul and delights and elevates it, and fills it with noble inclinations.
When I behold a rich landscape, it is less to my purpose to recite correctly the order and superposition of the strata, than to know why all thought of multitude is lost in a tranquil sense of unity.
An invisible landscape conditions the visible one
There's a whole range of words that people use about landscape. Pastoral? Idyll? I can't stand them.
I like to direct landscapes just as I like to direct actors and animals.
We are the children of our landscape; it dictates behavior and even thought in the measure to which we are responsive to it.
The landscape becomes human, becomes a thinking, living being within me. I become one with my picture ... we merge in an iridescent chaos.
The landscape you grow up in speaks to you in a way that nowhere else does.
Peace. The upland serenity of high altitude, the openness of grassland without indigenous bush or trees; the greening, yellowing or silver-browning that prevailed, according to season.
I like to think about machines and technology in relation to landscape and architecture.
In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity.